The second book, _Of Temperance_, pursues the subject, and represents the internal conquests of self-mastery, the conquests of a man over his passions, his violence, his covetousness, his ambition, his despair, his sensuality. Sir Guyon, after conquering many foes of goodness, is the destroyer of the most perilous of them all, Acrasia, licentiousness, and her ensnaring Bower of Bliss. But after this, the thread at once of story and allegory, slender henceforth at the best, is neglected and often entirely lost. The third book, the _Legend of Chastity_, is a repetition of the ideas of the latter part of the second, with a heroine, Britomart, in place of the Knight of the previous book, Sir Guyon, and with a special glorification of the high-flown and romantic sentiments about purity, which wore the poetic creed of the courtiers of Elizabeth, in flagrant and sometimes in tragic contrast to their practical conduct of life. The loose and ill-compacted nature of the plan becomes still more evident in the second instalment of the work. Even the special note of each particular virtue becomes more faint and indistinct. The one law to which the poet feels bound is to have twelve cantos in each book; and to do this he is sometimes driven to what in later times has been called padding. One of the cantos of the third book is a genealogy of British kings from Geoffrey of Monmouth; one of the cantos of the _Legend of Friendship_ is made up of an episode, describing the marriage of the Thames and the Medway, with an elaborate catalogue of the English and Irish rivers, and the names of the sea-nymphs. In truth, he had exhausted his proper allegory, or he got tired of it. His poem became an elastic framework, into which he could fit whatever interested him and tempted him to composition. The gravity of the first books disappears. He passes into satire and caricature. We meet with Braggadochio and Trompart, with the discomfiture of Malecasta, with the conjugal troubles of Malbecco and Helenore, with the imitation from Ariosto of the Squire of Dames. He puts into verse a poetical physiology of the human body; he translates Lucretius, and speculates on the origin of human souls; he speculates, too, on social justice, and composes an argumentative refutation of the Anabaptist theories of right and equality among men. As the poem proceeds, he seems to feel himself more free to introduce what he pleases. Allusions to real men and events are sometimes clear, at other times evident, though they have now ceased to be intelligible to us. His disgust and resentment breaks out at the ways of the Court in sarcastic moralizing, or in pictures of dark and repulsive imagery. The characters and pictures of his friends furnish material for his poem; he does not mind touching on the misadventures of Ralegh, and even of Lord Grey, with sly humour or a word of candid advice. He becomes bolder in the distinct introduction of contemporary history.